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How female representation in film empowers women
How female representation in film empowers women
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The Perception of Violence and Decay
Debra Granik, producer of “Winter’s Bone, successfully produces the thriller of a decade with this chilling film. Ree Dolly, the protagonist, adventures out to find her useless father, who is wanted by the law for cooking meth. The film explores many interrelated themes of family, poverty, drugs, and feminism. Reviewers, like A.O. Scott, Phillip French, and David Denby, all evaluate the significance of the strong female role. For instance, French writes, “Winter’s Bone is one of the great feminist works in film.” Even though other critics focus on all the other predominant themes, I believe violence and decay strikes as the most accentuated theme. Granik repeatedly captures the lack of trust even in ones
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Throughout the film there are multiple accounts of Ree asking family members for help, but she does not receive it. Families are supposed to be connected not only by blood but also commitment and confidence. Ree’s only family in the film is crime and loss. The loss of trust shows how hard Ree’s life is and how her family is useless. However, even though the lack of trust is clearly illustrated through Ree’s perception. Ree does gain the trust of select family members. Even though the disappearance of Jessup was to remain unknown, multiple family members took time to help Ree piece the puzzle together. These family members put a great amount of confidence that Ree was not to go to the law with the knowledge she amounted to receiving. Even with the support of the few family members, Ree’s trust decays over time as she begins to become frustrated in her man hunt. Another dangerous factor Ree encounters is the violence within her kinship. With the dominance of violence and secrecy in the film I believe the film is quite over looked. Denby and Scott dance around the idea but never fully address the effective morale. Both reviewers talk about theme of family. However, they both take have different perspective on the message being conveyed. Denby focuses on the women in the family, while Scott focuses on the cruelty. Denby brings to the argument …show more content…
Many scenes or characters shown are through a cause and effect style, but the audience just does not know it. In the opening scene a deer carcass hangs from the tree. Deer symbolize innocence, vigilance and sensitiveness. In a biblical fashion the deer represent devotion and piety. The fact that Granik began the movie with a dead deer to foreshadow the end character of Ree, and her strenuous adventures that lie ahead. Additionally, to the carcass, the clothes of the Dolly family are grimy and rugged. The houses are run down, the landscape rotting, and as time ticks the truth decays. Teardrop, Ree’s drug addicted uncle, is one of the protruding examples the audience meets in the film. Teardrop is dirty, worn down, and covered in prison tattoos. His appearance not only shows the quality of life the Dolly’s live but also the effects of drugs in the family. One of the most white-knuckle scenes in the movie is when Ree is beat up by the Thump women. Ree’s physical appearance is dismantled and first handedly reflects her emotional state. She is worn down, exhausted, and is surrounded by the frightening figures of her family that she must surrender too. Yet, after this frightening scene the Thumps reach out to Ree to help her find her father. The Thumps reputation was at stake with the gossip about the beating going around town, and they needed to cover their tracks. This
Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton: Princeton Publishing, 1992.
Catherine Hardwicke’s illuminating Thirteen is a sobering film of uncommon emotional potency. The picture focuses on Tracy (the wondrous Evan Rachel Wood), a sensitive, impressionable, profoundly confused teen, who out of desperation and uncertainty, turns to nihilism. Some have deemed the picture lurid and exploitative, but for the more liberal-minded, its message is significant and has value. Thirteen does not condone or glorify reckless, self-destructive behavior; rather it warns adolescents of the dangers and temptations they will surely be confronted with, while concurrently stressing the need for parental guidance and insight.
A large portion of contemporary film and theatre has been lacking in substance. More often than not, we are presented with a “been there, seen that” scenario. One such exception to this rule is Hedwig and the Angry Inch, a film by John Cameron Mitchell that was released in 2001. Set primarily in post-Cold War America, Hedwig is a film that characteristically breaks convention. Our story follows Hedwig, a forgotten and confused homo…trans…well, human being. Growing up in East Berlin during the Cold War, Hansel Schmidt (John Cameron Mitchell) lives what I would call a horrible childhood in the bleak landscape of communist occupied Germany. He falls in love with an American soldier, and undergoes a sex change in order to marry him and leave East Berlin. The operation is botched, leaving him/her as a physical contradiction. Not quite a man, but not yet a woman, Hansel (now Hedwig) has what she describes as an “angry inch.” When describing it in lighter terms, she calls it a “Barbie doll crotch.” Upon arriving in America, the soldier leaves her the same day the Berlin wall comes down. Destroyed, Hedwig spends some time discovering her new self and eventually finds a soul mate in a young boy named Tommy Speck (Michael Pitt). They collaborate musically and romantically, but upon discovering Hedwig’s secret he leaves with all of their music. He becomes a huge rock star, living Hedwig’s dream while simultaneously leaving her in the dust. From then on, Hedwig and her band “The Angry Inch” follow Tommy as he tours the nation while Hedwig tries desperately to gain the notoriety she deserves for her music. Viewing this film through the lens of a feminist gender perspective, I find that Hedwig is a pioneer on the forefront of changing the gende...
The family discovery was shocking to the the whole family and there inevitably was going to be an adjustment period. That being said, generally the adults in the household would step up and handle the situation, but teenage Grete was left to do this task, “During the first two weeks, his parents could not bring themselves to come in to him.” (Kafka 29). This was extremely unfair burden to put upon Grete who is already going through many changes in her personal life. Mr. and Mrs. Samsa once again betrayed one of their children and negated the possibility of Grete’s seemingly bright
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
A female in film noir is typically portrayed in one of two ways; she’s either a dependable, trustworthy, devoted, and loving woman, or she’s a manipulative, predatory, double crossing, and unloving temptress. Noir labels the cold hearted and ruthless woman archetype as a Femme Fatale. A femme fatale is walking trouble, and she’s aware of it. This woman is gorgeous, refined, eloquent, and commands the attention of any room she’s in. When the femme fatale desires something, she pursues it. If there’s an obstacle in her way, she overcomes it. If she can’t handle it herself, all she needs to do it bat her eyelashes and the nearest man is all too willing to take care of it for her. In essence, the most dangerous thing about the femme fatale is her
Quentin Tarantino has proven time and time again to be one of the most confusing directors to understand when attempting to unravel the personal ideologies in his films. Each of his films deals with race, sexuality, and gender to some extent, and it is often difficult to know whether or not Tarantino is making a commentary on these things or if he truly believes much of the problematic discourse found in his films. Kill Bill Vol. 1 and 2 are a testament to this understanding of Tarantino’s films, as they appear to be extremely feminist films at surface level yet, upon deeper inspection, have some very problematic qualities. Looking at Kill Bill Vol.’s 1 and 2 through both a feminist and anti feminist lens can allow the audience to better
In conclusion, the tenuous relationship Sethe shared with her mother led to Sethe’s inability to provide for her children. Consequentially, the murder of Beloved built an emotional barrier that added to the preexisting issue of concerning her stolen milk left Denver with too little milk and the primitive drive to live that at first seemed foiled by her mother’s overbearing past. Yet, against all odds Denver was able to break her family’s legacy of being engulfed in the past and began taking steps for a better future.
In modern society, people take pride on being unique. Despite the fact that people strive to be individuals, our country is structured around social norms. In the instance of these essays, the classification of social issues act as umbrella term and can be used in a variety of different situations. The essays “Why We Crave Horror Movies”, “The Tipping Point”, and “On Self Respect” all analyze different social issues. Steven King evaluates people’s mental health and how it effects their desire to watch horror movies. “The Tipping Point”, by Malcom Gladwell studies different social issues and what made them topple to the point of being classified as epidemics. In “On Self Respect”, Joan Didion analyzes self-respect, how we obtain it, and the process of it diminishing over time. All of these essays cover different topics, but all have the same common theme of redefining social norms.
Lars von Trier’s Nymphomaniac (2013) sparked controversy even before its stateside release during a matinee screening of Disney’s Frozen (Buck/Lee, 2013) in Tampa, Florida. The usual routine began as the projectionist prepared to screen the film: the lights of the cinema began to dim, the projection screen turned black, and the usual filler of cartoons and trailers started rolling. And then something unusual happened. According to one unsuspecting grandmother, “They put in the filler, it looked like Steamboat Willie, the old Mickey Mouse cartoon, and then all of a sudden it goes into this other scene” (Guardian, “Nymphomaniac Trailer”). This “other scene” was the red-band teaser for Nymphomaniac, described by Julie Miller of Vanity Fair as “the most graphic movie preview of all time—thanks in part to visuals of former child star Shia LaBeouf nude and engaged in multiple sexual activities” (Vanity Fair, “Explicit Sex Film”). Miller’s description of the trailer, however, is mostly incorrect. Very little do we see of LaBeouf’s character in the red-band trailer, neither “nude” nor engaged in the act of sex. Instead we catch various clips of Young Joe, performed by Stacy Martin, who is at one point seen fully nude and whose vagina is superimposed against the film’s title (stylized as NYMPH()MANIAC) at the start of the teaser. Despite his intentions in line with the Puzzy Power movement, von Trier’s male gaze complicates his presentation of female sexuality in Nymphomaniac. The logic behind the metanarrative of the film suggests that Joe’s (Charlotte Gainsbourg) salvation is ultimately afforded by male characters, most explicitly through Seligman (Stellan Skarsgård), Jerôme (Shia LaBeouf), and “K” (Jamie Bell). Although Nymphomaniac ask...
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
The films message to viewers about gender and power is that women are meant to take care of the home and play the supportive role, while men go out to their jobs and provide. Men are strong and burly and women are naïve and domesticated. Women need men and men always come to the rescue to save women and give them a happy ending. Power is portrayed in the film both visually and through the film’s script and dialogue. The common idea that women are inferior to men is placed subtly in this movie throughout the plot and how these charac...
Despite the Grandmother’s earlier preaching about the horrid character of the Misfit, when put in a back-to-the-wall situation she says, “I know you’re a good man”. The Grandmother’s strong concept of morality goes out the window when she is in a precarious situation. This is not unjustified, as she simply wants to make it out of the situation alive, yet it calls into question her character and the strength of her convictions. It also makes the readers themselves question their own morality; what would they do in a similar situation? The reader can feel sympathy for the Grandmother in this dangerous situation, yet it is her actions as the conversation progresses that cause the reader to pause and truly question the character of the Grandmother. The Misfit’s assistants systematically kill her family, as they are taken into the woods and shot. Throughout this time, the Grandmother seems to only be focused on self-preservation, with her only recognition of something awry being two isolated yells of “Bailey Boy!” O’Connor is showing the character of not just the Grandmother, but what she perceives to be the common trend in 1950’s culture. The idea of family unity and selflessness, even by those who propagate the idea, is forgotten when the individual is
In Debra Granik’s 2010 film Winter’s Bone, Ree Dolly is the main character who lives in a terribly impoverished town in the Ozark Mountains of Missouri. She lives with her two younger siblings, Ashlee and Sonny, a mother who is unresponsive due to a mental illness, and her father, who has disappeared right as his court date approaches. With her father missing, Ree has to take on the role of a mother and a father for her brother and sister, sacrificing her own childhood by doing so. Throughout the film, Ree is shown performing acts of parenthood for Ashlee and Sonny, showing that she is the only parental figure that they have. Not only does she have to assume the role of a mother, now that her father is gone she must step up and even teach